Battles could have recorded an all-instrumental album in the Mirrored mold, or they could have drafted in another singer to try and imitate Braxton's crucial contribution. Instead, they forced themselves, having lost their most immediately striking and divisive element, to move in a new and potentially radical direction. So the important questions with Gloss Drop become, "Is this new direction interesting? The answers are: "Yes," and "More often than you might guess.
Not only could these guys pull off these wild instrumental zigzags at high velocity, they made ultra-tricky, computer-assisted pop-prog sound like fun. For their circumstances-dictated new direction, Battles have slowed their roll a bit, foregrounding both the pop and propulsive qualities of the music rather than its can-we-top-ourselves inventiveness.
It still sounds like devious fun, but the sort you get from a band tweaking audience expectations. Gloss Drop is the most ride-the-groove record Battles have ever made, owing plenty to both the straight-forwardness of house and rock and the crazed syncopations of soca and dancehall, where Mirrored 's whole point could seem like leaving listeners breathless with this-could-go-anywhere prog invention.
And considering Battles are possibly the tightest man-machine unit going now that LCD Soundsystem are dead, you can imagine how hot these grooves burn, and how meticulously they're constructed, their most audacious attempt yet to make the line between "programmed" and "played" completely invisible.
Of course I say these two albums shouldn't be compared, but that won't stop most people from doing just that. Inevitably the starker differences between the two will leap right out on first listen, but if you're worried about a complete makeover, Gloss Drop still does sound an awful lot like Battles. Seiji Suenaga. William Yonts. Fritz Marial. Beif Sweat. Luis Perez. Purchasable with gift card. Sold Out. Africastle Ice Cream Futura Inchworm Wall Street My Machines Dominican Fade I wanted to represent a solid document that would be the album, that is a controlled atmosphere and have something that is completely organic that you can't even control the way things are going to happen, and at the end of the day it was more evident that we couldn't control anything other than the way things were going to happen when it came to making this album.
So the actual artwork was just this blob I made this controlled square one that didn't look as good but the organic blob that just fell into place and then congealed and solidified, was the total proper way for us to go for the album.
The writing for Gloss Drop was completed from to Midway through the process, Tyondai Braxton left the band to pursue his solo career.
The band then carried on as a trio and re-wrote the entire album within four months. Even he [Braxton] wasn't happy with it, it just sounded terrible, it was really bad. Gloss Drop received generally positive reviews from most music critics upon its release.
At AnyDecentMusic? According to AllMusic , the tracks with guest singers "are Gloss Drop s immediate standouts", due to the trio's way of picking singers "that reflect a particular aspect of their sound that they've chosen to express".
Mark Shukla of The Skinny , remarking on how adroitly the band overcame the departure of their former vocalist Tyondai Braxton, argued that " Amongst the more critical reviews, Dorain Lynsky from The Guardian stated that "there are dry, impenetrable patches, making Gloss Drop an album that ultimately impresses more than it charms.
However, whether this set represents a significant step onwards from Mirrored is questionable. But the basic formulas remain much as they were almost a whole decade ago. From Wikipedia, the free encyclopedia.
Experimental rock math rock. Warp Records. Retrieved 31 May